A director’s cut? Why?

Here’s what you’re are telling me as a director when I go to the website with your work and I see a “Director’s Cut.”

I know that directors have to go out of their way to make a director’s cut. It costs time and either money or favors. Directors have to really want a director’s cut. That’s a red flag for me.

First off, I wonder if you’re telling me, “Those idiot creatives messed everything up.” Remember that I’m an idiot creative.

Next, you’re telling me something about yourself with whatever you chose to change. 

I’ve seen director’s cuts that totally changed the vibe of a spot and showed the director didn’t understand the brand.

I’ve seen director’s cuts that are overly long and showed the director had little regard for the time constraints of the actual film. 

But mostly, I’ve seen director’s cuts that changed the vibe of the spot, were overly long, and were just a showcase of the director’s favorite film-schooly compositions. All about the angles and lenses and 40fps at the expense of the performances, the story, the whole point. 

Here’s a director’s cut I like, because I like what it says about the director. This is how this great ad for New York Lottery ran on TV in 2013.

Here’s David Shane’s director’s cut. 

And here’s what this tells me about Shane: he’s focused on the comedy – what tells the story and makes for the most fun ride and the best finish. I happen to disagree with him. I like the version with the reveal at the end. But I respect what he tried with his cut.

Here’s a spot that needs a director’s cut (Corona 77 planets). If the director or effects house behind this beautiful film made a cut with product shots only at the end and not also crammed into the beginning and middle, I would totally understand.  

So, agency creatives and producers, when you see a director’s cut, ask why the director went out of his or her way to make it. 

And directors (and reps and executive producers), think about what you’re saying when you choose to share a director’s cut.